A Quote by Ellen Glasgow

For me, the novel is experience illumined by imagination. — © Ellen Glasgow
For me, the novel is experience illumined by imagination.
Without imagination of the one kind or of the other, mortal existence is indeed a dreary and prosaic business... Illumined by the imagination, our life, whatever its defeats - is a never-ending unforeseen strangeness and adventure and mystery.
A novel, for me, relies on my imagination to inspire your (the reader's) imagination. It is not all there for you. My novels or my stories come to me visually. I use words to translate the novel I see inside my head into words that I hope will create a movie inside your head.
A novel is not an allegory.... It is the sensual experience of another world. If you don't enter that world, hold your breath with the characters and become involved in their destiny, you won't be able to empathize, and empathy is at the heart of the novel. This is how you read a novel: you inhale the experience. So start breathing.
Novels aren't pedagogical instruments, or instructions in law or physics or any other discipline. A novel has to be an emotional experience, a trip of the imagination, and because science has raised so many issues that concern and affect humans, it's a good starting place for me.
I have no favourite genre or style but treat each novel with the same care, imagination and craftsmanship. It's as difficult to write a crime or a children's novel with a touch of style and grace as it is a literary novel.
The idea of a group of elders is that, in past civilizations, they have linked worlds; the other world was also present in this one. There is also the argument that elders have "experience." The problem is that experience teaches fear of change. Experience kills imagination. Experience makes people conservative. What we are facing tomorrow requires the force of imagination, not wisdom from yesterday.
A novel can enlarge the empathy and imagination of both its author and its reader, and my experience, that sense of enlargement is most intense when I'm transported beyond the narrow limits of my daily life.
Fiction writing is an act of imagination, lived experience is secondary in many ways, writing a novel really is all about inventing worlds and people.
This fact was something I also learned from this first novel that I needed personal experience to invent, to fantasize, to create fiction, but at the same time I needed some distance, some perspective on this experience in order to feel free enough to manipulate it and to transform it into fiction. If the experience is very close, I feel inhibited. I have never been able to write fiction about something that has happened to me recently. If the closeness of the real reality, of living reality, is to have a persuasive effect on my imagination, I need a distance, a distance in time and in space.
Henry Corbin creates the world - most of all his examination of the imagination and what the imagination was for him. Some philosophers would think of the imagination as a synthetic ability, how you put different things together. Artists more think of the imagination as creativity. So I really like the way that he presents the imagination as a faculty that allows one to experience worlds that are not exactly physical but are real nonetheless.
Another reason I think the novel will survive is that the reader has to work in a novel. In a film, you are presented with someone else's imagination exactly bodied out. The marvelous thing about a novel is that every reader will imagine even the very simplest sentence slightly differently.
[My novel] took up the sweetest part of my mind and the rarest part of my imagination; it was like being in love and better. All day long when I was busy [...], I had my unfinished novel personified almost as a secret companion and accomplice following me like a shadow wherever I went, whatever I did.
It may sound very strange, but I love the freedom that writing a novel gives me. It is an unhindered experience. If I come after a bad day, I can decide that my protagonist will die on page 100 of my novel in a 350-page story.
All those who love thrillers will find in Michael Alexiades's first novel a source of great pleasure and satisfaction. It combines suspense and knowledge, experience and imagination. His grateful readers will now wait for the next.
The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
Is imagination dependent upon experience, or is experience influenced by imagination?
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